Latest news with #Cannes'
Associated Press
05-06-2025
- Business
- Associated Press
LaKoradior Haute Couture Shines at the 78th Cannes Film Festival Red Carpet – Three International Female Leaders Redefine Haute Couture Aesthetics
At the 78th Cannes Film Festival, LaKoradior Haute Couture commanded global attention as Hollywood actress Arielle Raycene, supermodel Patricia Contreras, and entrepreneur-fashion influencer Jenny Gordienko unveiled the brand's 2025 collection on the red carpet. Their looks—ranging from gilded elegance to sustainable poetry—cemented LaKoradior's status as this year's haute couture tour de force. Stellar Moments: Three Leading Women on the Red Carpet Arielle Raycene: The Golden Multihyphenate of Hollywood As an actress, theatrical performer, and tech entrepreneur, Arielle Raycene appeared on the red carpet in a champagne-gold haute couture gown. Adorned with hand-embroidered metallic threads that shimmered like liquid gold under the sunlight, the dress mirrored her multifaceted career. A prodigious talent who earned her SAG membership at just three years old and starred in Mel Gibson's latest film, Raycene chose LaKoradior to express her philosophy: 'True luxury lies in fearless reinvention.' Patricia Contreras: A Transcontinental Fashion Icon Italian-Mexican supermodel and actress Patricia Contreras stunned in a violet mermaid gown inspired by orchid petals. Meticulously handcrafted with gradient silk threads, the dress showcased three-dimensional embroidery with Eastern elegance. A muse for brands like Armani and Balmain, and winner of Cannes' 2019 'Best Lifestyle Influencer' award, Contreras remarked, 'Wearing this gown felt like dancing with centuries of artisanal heritage.' Jenny Gordienko: Where Fashion Meets Influence Forbes-recognized 'Top Influencer Marketing Expert' Jenny Gordienko opted for an aqua-blue haute couture gown with wave-like pleats, reflecting her commitment to sustainable fashion. As a TEDx speaker and founder of educational initiatives, she stated, 'Fashion is the ultimate medium for cross-cultural dialogue.' LaKoradior's Cannes Moment: Global Resonance of Haute Couture The trio's red carpet looks sparked immediate international media frenzy, proving that 'LaKoradior doesn't just dress stars—it redefines the language of the red carpet.' Behind this success stood global fashion catalyst CrossMode and its visionary approach. Creative Director Mei Zhan noted, 'Our mission is to create alchemy between traditional craftsmanship and modern icons. Cannes isn't just a showcase—it's a dialogue with history.' About LaKoradior Haute Couture LaKoradior merges architectural precision with poetic fluidity, crafting bespoke creations for business leaders and silver-screen legends. Each collection serves as wearable art, preserving vanishing artisanal techniques through collaborations with master workshops. Media Contact Company Name: LaKoradior Haute Couture Contact Person: Mei Zhan Email: Send Email City: Paris Country: France Website: Source: Press Release Agency
Yahoo
03-06-2025
- Business
- Yahoo
Netflix Takes A Bulk Of The World On Shih-Ching Tsou's Cannes Movie ‘Left-Handed Girl'
EXCLUSIVE: Netflix has acquired most of the global rights to Shih-Ching Tsou's Cannes' Critics Week movie Left-Handed Girl. The movie, produced by and co-written by 4x Anora Oscar winner Sean Baker won the Gan Foundation Award as well as the Prix du Rail d'Or following its premiere at the Cannes Film Festival. More from Deadline Scissor Sisters' Jake Shears Talks 'Pillion' Acting Debut & "Shocking" NSFW Sex Scene With Alexander Skarsgård: "My Jaw Was On The Floor" Ollie Madden Exiting Film4/Channel 4 To Join Netflix As Director Of UK Film; Farhana Bhula & Gwawr Lloyd Upped At UK Broadcaster Netflix EMEA Chief Puts 'Mr Bates' Debate To Bed: "We Absolutely Would Have Commissioned It In The UK" The Mandarin and Taiwanese language movie follows a single mother and her two daughters who relocate to Taipei to open a night market stall, each of them navigating the challenges of adapting to their new environment while striving to maintain family unity. Janel Tsai stars as the mother, along with Nina Ye and Shih-Yuan Ma as the children. We heard back on the Croisette that Netflix was very excited about acquiring this movie. 'The original story comes from something my grandfather told me when I was young,' Tsou told Deadline's Melanie Goodfellow in our Cannes Studio. 'He told me the left is the devil's hand, do not use it. At the time I was already 'corrected' as I was originally left-handed, so I didn't really understand, but it stayed in my mind for a long, long time.' 'The story was in my heart for so long, and I really, really want to show how the world how beautiful my country is. This is like a love letter to Taiwan,' Tsou said. Deadline Chief Film Critic Pete Hammond exclaimed, 'Shih-Ching shows strong command of storytelling and shifting tones with high dramatics that could careen out of control but never do, instead keeping us on the edge of our seats. Baker's tight editing really comes into play here and proves worthy of Douglas Sirk at his height. Ultimately what holds it all together are the strong performances all around.' Coming out of the fest, Left-Handed Girl stands at 95% fresh with critics on Rotten Tomatoes. Shih-Ching Tsou is a longtime collaborator of Baker's who worked as a producer on his earlier films including Starlet, Tangerine, The Florida Project and Red Rocket. The duo also co-directed a film called Take Out 21 years ago. Both them of co-wrote the movie. Producers are Shih-Ching Tsou, Baker, Mike Goodridge, Jean Labadie and Alice Labadie. Production companies are Left-Handed Girl Film Production, LHG Films LTD, Good Chaos and Le Pacte. Netflix has rights for the majority of the world except for the Baltics, Benelux, Greece, Hong Kong, Israel, Italy, France, Japan, South Korea, Spain, Scandinavia, Poland and Taiwan. Best of Deadline 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More Everything We Know About 'Nobody Wants This' Season 2 So Far List Of Hollywood & Media Layoffs From Paramount To Warner Bros Discovery To CNN & More
New Indian Express
03-06-2025
- Entertainment
- New Indian Express
Why I find Aishwarya Rai's and Deepika Padukone's Cannes outings troubling
Bollywood stars like Aishwarya Rai Bachchan, Deepika Padukone, and Sonam Kapoor have long explored the Cannes Film Festival as a stage to showcase not their work but themselves, possibly because they are more attractive and intelligent than their movies. Aishwarya Rai Bachchan, a Cannes veteran since 2002, is a prime example of Cannes commodity objectification. Her filmography, including commercial hits like Jodhaa Akbar or Ae Dil Hai Mushkil, prioritizes her as a spectacle over substance. Yet she is a red-carpet darling, frequently representing L'Oréal, and misrepresenting herself as an actor. In 2022, Aishwarya wore a custom Gaurav Gupta Couture gown, described as a 'sculptural piece with minimal accessories', whatever that means, and a Dolce & Gabbana floral black dress. Her 2025 appearance featured an ivory Kadwa Banarasi saree by Manish Malhotra, paired with ruby heirloom jewelry from his High Jewelry line, with the saree alone estimated at ₹15-20 lakh ( $18,000-$24,000) and the jewelry potentially exceeding ₹1 crore ($120,000) due to its 500-carat ruby embellishments. A couple of great movies could be produced within the budget of her accessories. Deepika Padukone, another L'Oréal ambassador, has also prioritized Cannes' glamour over cinematic heft. Her roles in films like Padmaavat or Bajirao Mastani dazzle visually but predictably lack narrative depth, with critics noting their reliance on lavish sets over storytelling. In 2022, as a Cannes jury member, she wore a black and gold sequined Sabyasachi saree, estimated at ₹5-7 lakh ($6,000-$8,400), paired with statement jewelry from Sabyasachi's Bengal Royale Collection, valued at ₹10-15 lakh ($12,000-$18,000). Her red Louis Vuitton gown that year, with a plunging neckline and short train, was priced around $20,000-$30,000, with a diamond necklace adding $15,000-$25,000. Her 2018 fuchsia Ashi Studio gown cost approximately $15,000 to $25,000. These queenly ensembles contrast sharply with her film choices, like Gehraiyaan, which was panned for its shallow emotional core. Sonam Kapoor, known for her fashion-forward image, has starred in instantly forgettable films like Players or Mausam, yet her Cannes appearances are meticulously curated. In 2018, she wore a custom Ralph & Russo lehenga, estimated at ₹20-25 lakh ($24,000-$30,000), with Chopard jewelry valued at $50,000-$80,000. Her 2017 baby pink Elie Saab gown, styled with chandelier earrings by Kalyan Jewels, cost around $15,000-$25,000, with accessories adding $10,000-$20,000. Her 2013 gold and white Anamika Khanna saree, paired with a statement nose ring, was priced at ₹8-10 lakh ($9,600-$12,000). These high-cost looks amplify her "fashionista" persona, but films like The Zoya Factor underscore her limited cinematic contribution. Each year, a parade of Indian celebrities descends upon the French Riviera, draped in trailing gowns as long as a mile and tailored tuxedos, posing for paparazzi and flooding social media with carefully curated glamour shots. If only the care that goes into gowns also went into their movies. The problem isn't their 'look at me' entries. Global film festivals thrive on international representation. But the stark disconnect between the mediocrity of our actors back home and the gravitas they attempt to project at Cannes is telling. Bollywood, for all its cultural dominance and massive output—churning out over hundreds of films annually—rarely produces work that stands up to scrutiny. The majority of its mainstream fare is dull and tediously formulaic: melodramatic family sagas, recycled romantic tropes, or action flicks where the hero or the heroine triumphs over loud evil characters in oiled wigs. All of it guarantees ennui. Since we are in a gender-neutral age, consider their Hollywood male cohorts like Brad Pitt or Leonardo De Caprio. Pitt produced 12 Years a Slave, and gave himself a small supporting role. He backed Moonlight and produced The Big Short—movies that tackle complex themes with nuance and ambition. Leonardo DiCaprio's Appian Way Productions delivered The Revenant, The Wolf of Wall Street, and Killers of the Flower Moon, projects that push boundaries in craft and narrative. These stars don't attend festivals just for clout; they're invested in cinema as an art form, using their influence to fund stories that challenge, provoke, or redefine the medium. When they appear at Cannes, it's often tied to a project with weight. Their red-carpet moments are a byproduct, not the purpose. This isn't to say Indian cinema lacks talent or potential. Directors like Anurag Kashyap or Kiran Rao, Payal Kapadia, or Anant Mahadevan have shown what is possible when creativity trumps formula. But the stars who dominate Cannes' red carpet are rarely attached to such projects. The Bollywood industry's occasional gems—like Gully Boy or Tumbbad—rarely match the storytelling depth or technical finesse of global cinema. Aishwarya Rai Bachchan, a Cannes regular for over two decades, again, is a case in point. Her filmography, while commercially successful, includes forgettable fare like Jodhaa Akbar or Ae Dil Hai Mushkil, which prioritize spectacle over substance. The counterargument might be that Cannes is a global stage, and Bollywood's presence helps put Indian cinema on the map. Fair enough—visibility matters. But visibility for whom? The films showcased in Cannes' competitive sections are rarely the masala entertainers these stars headline. Instead, it's the low-budget, independent Indian films—often ignored by Bollywood's elite—that occasionally make it to the festival's Un Certain Regard or parallel sections. All That We Imagine As Light is an example. The stars' presence, then, feels like a distraction, drawing attention away from the filmmakers who deserve the spotlight. Their red-carpet antics overshadow the real work of Indian cinema, perpetuating a rather sadly true narrative that Bollywood is all glitz and no substance. If Bollywood stars want to be taken seriously at Cannes, they should take a page from their Hollywood counterparts. Invest in stories that matter. For the price of a gown or two, make a good movie. Champion scripts that challenge conventions. Produce films that can stand shoulder-to-shoulder with the best at the festival. Until then, their presence at Cannes will remain what it often feels like: a fashion show masquerading as a cinematic pilgrimage with little to show for it beyond Instagram reels and fleeting headlines on Page 3. (CP Surendran is a poet, novelist and screenplay writer whose latest novel is One Love and the Many Lives of Osip B. He can be reached at cpsurendran@ Views are personal.)
Yahoo
03-06-2025
- Entertainment
- Yahoo
Dystopia Now! In ‘Orwell: 2 + 2 = 5,' Director Raoul Peck Shows How ‘1984' Author Foresaw Today's Authoritarian Drift — Cannes
'Special military operation.' 'Department of Government Efficiency.' 'Enhanced interrogation techniques.' 'Alternative facts.' We live in a time when governments use lexical distortions to manipulate public opinion – the very thing author George Orwell captured so cogently in his dystopian novel 1984, where the futuristic regime adopts 'Newspeak' and other authoritarian techniques to stamp out independent critical thinking. More from Deadline Raoul Peck's 'Ernest Cole' Shares Cannes' L'Oeil D'or Prize For Best Documentary With 'The Brink Of Dreams' Raoul Peck Directing Documentary 'The Hands That Held The Knives' On Assassination Of Haitian President Jovenel Moise Nu Boyana Exec Launches Next Gen Company Hollywood Influence Studios With Stratosphere-Shot Debut 'Above The End' The time is ripe then to reexamine a writer who, though he died 75 years ago, foresaw how leaders of today would gaslight their own people to impose their will and squash dissent. Oscar-nominated filmmaker Raoul Peck takes on that task in his new documentary Orwell: 2 + 2 = 5, premiering on Saturday at the Cannes Film Festival. 'A man that died in January 1950, to be that accurate about what is happening today — you better take a second look and try to learn even more from him,' Peck tells Deadline. For his examination of Orwell and his thought, the director drew upon the writer's personal archives. 'The estate allowed me to have access to everything — to published, unpublished [work], private letters, unpublished manuscripts. And that's something, especially in today's world where buying a chapter of a book costs you a fortune,' Peck says. 'It was a gift to be able to have access to everything. It was the same gift I had with James Baldwin' (focus of Peck's acclaimed film I Am Not Your Negro). Orwell: 2 + 2 = 5 traces the writer's effort to complete 1984 in the late 1940s as tuberculosis took the last vestiges of his health. He was hospitalized regularly as he worked on the manuscript on the Scottish island of Jura in the Inner Hebrides. The film also dials back to experiences much earlier in Orwell's life that formed his humanistic worldview. In private writings – voiced by actor Damian Lewis – Orwell describes growing up with the ideology common to a Briton of his background (he described himself as 'lower upper-middle class'). He was educated at Eton but instead of following the common path of his classmates to Oxford or Cambridge, he joined the British Imperial Service, working as a colonial police officer in Burma (present-day Myanmar). 'The key to who he became was in Burma. He realized he was there as an imperialist,' Peck observes. 'He was there as a European and doing the worst things a human being can do to normal people — not to combatants, not to communists — to normal people, 'Coolies,' farmers. And he did not like himself. He did not like what he was doing, and he was doing it for the Empire. That was the big break. And he never was able to reconcile that. And he knew he had to keep his critical mind always, no matter who's the boss, no matter who is the king, no matter who's the president, he needs to keep his critical mind.' He threw his lot in with working people, chronicling life on the lower economic rungs in Down and Out in Paris and London (1933) and The Road to Wigan Pier (1937). He fought fascism in Spain in the 1930s, documenting his experience in Homage to Catalonia (1938). 'The thing that made him interesting to me beside his books, besides his ideas, was the fact that he lived through those things. He wrote from his experience, his own personal experience, not from any intellectual awareness of anything. Not that I'm against that, but there is a sort of credibility that can only be gained from going through those things yourself,' the filmmaker says. 'And this is something he did very frontally, very decisively, and trying to live among the poor, among the disinherited, because that was important to him to feel before he writes, to understand before he can write and to verify what his instinct was. And by the way, he didn't do it from a superior point of view, but he criticized himself as well. He put himself under his own analysis, and he did that very early on.' Orwell described himself as a democratic socialist, but he abhorred the sort of mind control exerted by ostensibly socialist or communist regimes like the USSR and its satellites. Animal Farm, published in 1945 as the Soviet Union was clamping its pincers on Eastern Europe, and 1948 – published at a time when Stalin had drawn the Iron Curtain between East and West – illustrate the moral depravity of the powerful who exert dominance over the powerless. But, as Peck believes, Orwell has wrongly been interpreted as relevant only to an earlier time of Stalinist totalitarianism. Forcing people to accept that 2 + 2 + 5 (as happens in 1984) – how different is being forcefed the lies of Putin that he unleashed hell on Ukrainian civilians to 'denazify' the country? How different is it from Pres. Trump attempting to rewrite reality by describing the January 6 attack on the U.S. capital as 'a day of love'? Orwell saw, as shown in Peck's documentary, that totalitarian regimes engage in 'continuous alteration of the past.' 'Orwell has been put in a little box as an anti-Stalinist or an anti-Soviet, anti-authoritarian regime,' Peck comments. 'But you hear what he says in the film, authoritarians don't all only happen in faraway countries. It can happen as well in the U.K., in the United States and elsewhere. So, the scope [of the film] was from the get-go very wide. For me, it was not just an anti-Trump or anti-whatever agenda.' Peck was born in Haiti but as a child he and his family fled to the Democratic Republic of the Congo to escape the dictatorial regime of François 'Papa Doc' Duvalier, an authoritarian who enjoyed the support of many successive American governments. That high level hypocrisy – America, the shining beacon of liberty, propping up a dictator – made Peck as acutely sensitive to the abuse of political language as Orwell. 'When Kennedy or Nixon or Johnson, were talking about Haiti, supporting a dictatorship, and the word democracy was in every speech, how could I reconcile that?' he questions. 'You are supporting a guy who has killed thousands and thousands of people, who is keeping his people poor, who is corrupt, where there is torture. So how do you reconcile that? Very early on, I was always suspect of certain words that people were using.' Ultimately, what Orwell was about is asserting the dignity of individuals, especially the downtrodden, against forces of exploitation, be they economic and/or political. He's as relevant to our times as he was to the mid-20th century. 'When you encounter a thinker like Orwell, and you feel, wow, he gets it. He gets what the 'other' is, he has empathy,' Peck says. 'He looks at everybody as a human being, whether you are poor, rich or Burmese or British or a worker in a kitchen in Paris, he sees you first as a human being. And that's very rare. That's very rare.' Best of Deadline 2025 TV Cancellations: Photo Gallery Where To Watch All The 'Mission: Impossible' Movies: Streamers With Multiple Films In The Franchise Everything We Know About 'My Life With The Walter Boys' Season 2 So Far
Hindustan Times
30-05-2025
- Entertainment
- Hindustan Times
Aishwarya Rai's unseen Cannes 2025 look in lavender suit has internet swooning over her ‘insane face card'
The 'Queen of Cannes' Aishwarya Rai's unseen look from the 78th Festival de Cannes has delighted the internet, once again. After two striking red carpet looks – a glittering Gaurav Gupta gown and a gorgeous ivory-gold saree by Manish Malhotra – Aishwarya's Cannes 2025 red carpet moments were a breath of fresh air after last year's looks, which received a lukewarm response from fans. According to her fans, this new look is in league with the other two outfits from Cannes 2025. Also Read | Jacqueline Fernandez wears glittering jewels as top in new sultry pics, internet is 'obsessed' with her crystal bra On May 30, the Reddit page BollyBlindsNGossip posted pictures of Aishwarya's unseen Cannes look. The pictures show the actor dressed in a lavender two-piece suit featuring a blazer with shawl lapels, satin pleats on the bodice, full-length sleeves, a single button closure on the front, patch pockets, a tailored fit, and padded shoulders. She wore the jacket over a lavender blouse featuring a V neckline and a relaxed silhouette. A pair of matching lavender pants completed Aishwarya's Cannes outfit. The bottoms have a relaxed fit, a high waistline, and a flared design. Lavender, for quite a long time, has been a favoured summer colour, and with Aishwarya's stamp of approval, it seems it is not changing any time soon. Aishwarya accessorised the lavender ensemble with a silver cocktail ring adorned with shimmering diamonds. She styled her luscious auburn locks in a side parting, enhanced with soft, blowout waves. Lastly, she chose feathered brows, muted smokey eye shadow, mascara-adorned lashes, flushed cheeks, glowing highlighter, and soft contouring. A bold red lip shade gave the finishing touch. Fans loved Aishwarya's look, while some Reddit users shared their delight over not seeing another 'tent outfit and middle partition hair'. A user wrote, 'That insane face card.' Another commented, 'Wow, love this look!! Why wasn't it shown?' A fan commented, 'Ye hui na baat Aish.'
